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© 2019 Tavish Cross

Sound Design for a Game Level: Editing

October 24, 2017

I've reached a point within the module where I feel that I've collected enough samples to begin editing the collected content. As you may have seen with my first blog post within this area, I have already implemented some of the ambient related tracks into the game, meaning that I have also edited these tracks. So I'll back-track somewhat and provide an overview in relation to the ambience involved with the game.

 

Initially, I wanted to address the depth in relation to frequency content that the player would hear whilst playing the game. This involved taking some of the wind and lava crackling tracks, summing them down to mono and applying a Low-Pass Filter (LPF) to provide a more ominous sound-bed for the other ambience tracks to build upon, resulting in a "low rumble". I had several reasons for making the low rumble mono. The first reason was that I was approaching it in a similar way to music. Although it's rare that I will make all low frequency content mono in music projects, I did this to make space for the other sounds with similar frequency content that may be panned later. I also knew that the wind tracks without a LPF would have movement in stereo and I wanted to cover myself later when deciding where the crossover point would be between the low rumble and wind tracks. I then did a general EQ job of notching out any frequencies that were uncomfortable to my ears.

 

The next job to deal with when editing the more consistent, droning ambience tracks was to ensure that they all looped correctly without any noticeable start/end to a sample. This was troublesome at first, but experimenting with different fade types within Pro Tools and start/end points within the sample itself, I finally got each sample to loop to a standard that I was happy with. Committing and exporting the clips in bulk from the clip list then followed. I am glad now, though, that Pro Tools 12.8.2 has been released, as this features batch file naming conventions, which will speed up the process of naming all of the clips tenfold. Still waiting to download it though, as there may be a few bugs that haven't quite been sorted out yet; I don't feel like being a guinea pig at the moment, especially with some of the other projects I have on the go!

 

I am currently going through similar processes with the foley involved with the game. In the next post I will add pictures if there's anything worth highlighting. I am excited to see what noise I can make with the cymbal samples I took recently, though. I've had an idea for a soundscape to act as the music for the game, and what I've briefly put together seems to be heading in the direction that I initially had thought about in my head. I'll go into further detail on that in a future post, though.

 

 

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